The Auschwitz-Birkenau Museum
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Germar Rudolf's Bungled
Bungled: “DENYING THE HOLOCAUST” Bungled: “Denying the Holocaust” How Deborah Lipstadt Botched Her Attempt to Demonstrate the Growing Assault on Truth and Memory Germar Rudolf !"# !$ %&' Germar Rudolf : Bungled: “Denying the Holocaust”: How Deborah Lipstadt Botched Her Attempt to Demonstrate the Growing Assault on Truth and Memory Uckfield, East Sussex: CASTLE HILL PUBLISHERS PO Box 243, Uckfield, TN22 9AW, UK 2nd edition, April 2017 ISBN10: 1-59148-177-5 (print edition) ISBN13: 978-1-59148-177-5 (print edition) Published by CASTLE HILL PUBLISHERS Manufactured worldwide © 2017 by Germar Rudolf Set in Garamond GERMAR RUDOLF· BUNGLED: “DENYING THE HOLOCAUST” 5 Table of Contents 1.Introduction ................................................................................... 7 2.Science and Pseudo-Science ...................................................... 15 2.1.What Is Science? ........................................................................... 15 2.2.What Is Pseudo-Science? ............................................................. 26 3.Motivations and ad Hominem Attacks ....................................... 27 3.1.Revisionist Motives According to Lipstadt ............................... 27 3.2.Revisionist Methods According to Lipstadt .............................. 40 3.3.Deborah Lipstadt’s Motives and Agenda .................................. 50 4.Revisionist Personalities ............................................................. 67 4.1.Maurice Bardèche ........................................................................ -
"Witold Pilecki. Confronting the Legend of the "Volunteer to Auschwitz""
Ewa Cuber-Strutyńska Witold Pilecki. Confronting the legend of the “volunteer to Auschwitz” Death had many opportunities to prematurely end the life of Witold Pilecki, who participated in the ight for independence during the war against the Bolsheviks and fought in World War II. Despite the risk he took, he managed to avoid death when he was at the front, when he found himself in the Auschwitz concentration camp and when he took part in the Warsaw Uprising. That it reached him in seemingly independent Poland and that it happened owing to, among others, his old brothers in arms should be considered a tragic paradox. Pilecki became a victim of the Communist regime, which brought death to him twice. The irst death, with a bullet in the back of his head, came on 25 May 1948; the second, symbolic one, involved killing the memory of Pilecki by censoring it for several dozen years. The memory of Pilecki was liberated and he was rehabilitated only after the fall of the regime that had brought death upon him. In the 1990s, we witnessed the publication of the irst biographies of Pilecki, which led to his return to the history of Poland and placed him in the pantheon of Poles who served their homeland to the greatest extent. Moreover, the past several years have shown a growing interest in Pilecki. His igure is now popularised by not only academic publications (which after all reach a rather small audience) but also various kinds of activities undertaken by state institutions, non-governmental organisations as well as football club fans.1 Among the increasing number of initiatives intended to honour Pilecki was even the idea to make an attempt at his beatiication.2 1 During a match between Śląsk Wrocław and Jagiellonia Białystok that took place on 3 May 2012, the supporters of Śląsk Wrocław prepared a setting including Pilecki’s portrait with a caption “Volunteer to Auschwitz” and the quote “Because compared with them Auschwitz was just a trile”. -
Anatomy of the Auschwitz Death Camp, Edited by Yisrael Gutman and Michael Berenbaum (Bloomington and Indianapolis: Indiana University Press, 1994), Xvi + 638Pp
Anatomy of the Auschwitz Death Camp, edited by Yisrael Gutman and Michael Berenbaum (Bloomington and Indianapolis: Indiana University Press, 1994), xvi + 638pp. $39.95 This is a flawed, but nevertheless indispensable, reference work that will be used for many years by Holocaust students at all levels. Its twenty-nine essays explore the history of Auschwitz, its machinery of mass murder, inmates, problems of resistance, and reactions by the outside world. It is composed of the work of twenty-four scholars from several disciplines and nine countries; although none of the contributors is German, Polish researchers are well represented, including six historians attached to the Auschwitz-Birkenau State Museum. Variations in quality are inevitable in such a collection. Some essays are massively documented, whereas others dispense with notation altogether. A few essays, perhaps by necessity, only scratch the surface of formidable topics, as in Shmuel Krakowski's exploration of the Auschwitz satellite camps and Aleksander Lasik's analysis of postwar prosecutions of Auschwitz SS men. The anthology is, on the whole, distinguished by high levels of scholarship and editing. Among the new research findings that will be of particular interest to scholars is a judicious reassessment by Franciszek Piper of the numbers murdered at Auschwitz. He ans his Polish colleagues knew for many years before the fall of Communism that the official figures advanced by their government -- as high as four million -- were gross exaggerations. So, too, were estimates made by Auschwitz commandant Rudolf H”ss in his postwar testimony and accepted by many western scholars. Piper's careful calculations of arrivals and departures show that between 1.1 and 1.5 million victims died in the camp. -
Holocaust Memorial Days an Overview of Remembrance and Education in the OSCE Region
Holocaust Memorial Days An overview of remembrance and education in the OSCE region 27 January 2015 Updated October 2015 Table of Contents Foreword .................................................................................................................................... 1 Introduction ................................................................................................................................ 2 Albania ................................................................................................................................. 13 Andorra ................................................................................................................................. 14 Armenia ................................................................................................................................ 16 Austria .................................................................................................................................. 17 Azerbaijan ............................................................................................................................ 19 Belarus .................................................................................................................................. 21 Belgium ................................................................................................................................ 23 Bosnia and Herzegovina ....................................................................................................... 25 Bulgaria ............................................................................................................................... -
Thesis Title the Lagermuseum Creative Manuscript and 'Encountering Auschwitz: Touring the Auschwitz-Birkenau State Museum' C
Thesis Title The Lagermuseum Creative Manuscript and ‘Encountering Auschwitz: Touring the Auschwitz-Birkenau State Museum’ Critical Thesis Author Dr Claire Griffiths, BA (Hons), MA, PhD Qualification Creative and Critical Writing PhD Institution University of East Anglia, Norwich School of Literature, Drama and Creative Writing Date January 2015 Word Count 91,102 (excluding appendices) This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract The Lagermuseum My creative manuscript – an extract of a longer novel – seeks to illuminate a little- known aspect of the history of the Auschwitz concentration and death camp complex, namely the trade and display of prisoner artworks. However, it is also concerned with exposing the governing paradigms inherent to contemporary encounters with the Holocaust, calling attention to the curatorial processes present in all interrogations of this most contentious historical subject. Questions relating to ownership, display and representational hierarchies permeate the text, characterised by a shape-shifting curator figure and artworks which refuse to adhere to the canon he creates for them. The Lagermuseum is thus in constant dialogue with my critical thesis, examining the fictional devices which often remain unacknowledged within established -
Slave Labor Class I
In Re HOLOCAUST VICTIM ASSETS LITIGATION (Swiss Banks) SPECIAL MASTER’S PROPOSAL, September 11, 2000 SLAVE LABOR CLASS I I. INTRODUCTION Otto Count Lambsdorff, who represented the German government in the recently concluded negotiations that led to the July 17, 2000 establishment of the German Foundation “Remembrance, Responsibility and the Future” (the “German Fund”) and its forthcoming payments to slave and forced laborers, remarked that “there was hardly a German company that did not use slave and forced labor during World War II.”1 The German Bundestag, in its preamble to the statute, clearly acknowledged that “the National Socialist State inflicted severe injustice on slave laborers and forced laborers, through deportation, internment, exploitation which in some cases extended to destruction through labor, and … that German enterprises which participated in the National Socialist injustice bear a historic responsibility and must accept it.”2 The Settlement Agreement, by including Slave Labor Class I, is designed to provide compensation to certain persons who were forced to perform slave labor during the Third Reich. According to the Settlement Agreement, Slave Labor Class I consists of “Victims or Targets of Nazi Persecution who actually or allegedly performed Slave Labor for companies or entities that actually or allegedly deposited the revenues or proceeds of that labor with, or transacted such revenues or proceeds through, Releasees, and their heirs, executors, 1 Cited in testimony of Deputy Treasury Secretary Stuart E. Eizenstat before the House Banking Committee on Holocaust Related Issues, September 14, 1999 at 6, available at http://www.house.gov/banking/914/99see.htm. 2 Preamble to Law on the Creation of a Foundation “Remembrance, Responsibility and Future” (“Gesetz Zur Errichtung Einer Stiftung ‘Errinnerung, Verantwortung und Zukunft’”), July 17, 2000, informal translation prepared by the United States Embassy in Berlin, available at http://www.usembassy.de/dossiers/holocaust. -
JUST a GLASS: an Analysis of the Role of Alcohol in Konzentrationslager Auschwitz-Birkenau Dylan Sanderson
JUST A GLASS: An Analysis of the Role of Alcohol in Konzentrationslager Auschwitz-Birkenau Dylan Sanderson While the role of alcohol amongst perpetrators of the Holocaust has received some scholarly attention, little focus has been paid to its use within the Nazi concentration camp system specifically. Using Auschwitz-Birkenau as a case study, this paper draws on accounts from survivors, perpetrators, and civilians to demonstrate the presence of alcohol in various contexts of camp life and explore both who used it and for what purposes, from prisoners to guards and from barter good to accompaniment to the perpetration of violence. This paper both demonstrates the value of studying the role of alcohol within the camp and argues for the need to address this gap in the scholarship so as to better understand the lived experiences of those who composed the camp’s population and the perpetration of the Holocaust more generally, as well as identifying some specific areas likely warranting future research. Introduction In his account of the nearly five years he spent in Konzentrationslager Auschwitz- Birkenau, Anus Mundi, Wiesław Kielar details an interaction between Edward “Edek” Galiński—his friend and an accomplice in attempting to escape—and the Blockführer Pestek:1 “Just a glass, Herr Blockführer. A little glassful won’t hurt you. No one will notice, because everybody drinks.”2 The SS guard accepts, sharing a glass and conversation with Edek and Kielar. While it may come as a surprise, this is not the only documented instance of such an event occurring within the camp.3 Although likely not as ubiquitous as Galiński’s comment might suggest, the selection of sources concerning Auschwitz-Birkenau consulted for this paper indicates that alcohol was present in several different aspects of camp life—appearing in other contexts as seemingly unlikely as a shared drink between prisoners and an SS guard. -
Music in Concentration Camps 1933 Music In
Music in Concentration Camps 19331933––––19451945 GUIDO FACKLER Translated from the German by Peter Logan (Würzburg) It would be wrong to reduce the “Music of the Shoah” (Holocaust/ churbn ) to the Yiddish songs from the ghetto camps of Eastern Europe or to the multiple activities in the realm of classical or Jewish music found in the ghetto camp at Theresienstadt (Terezín), which of course enjoyed a special status as a model camp. It would be equally wrong to restrict our view of music in concentration camps to the “Moorsoldatenlied” (“The Peat Bog Soldiers”), the “Buchenwald Song,” the “Dachau Song,” or the so-called “Girls’ Orchestra in Auschwitz,” described by Fania Fénelon – also the subject of the Hollywood film entitled “Playing for Time”. 1 Instead of this, I wish to address the topic of musical activities in general in the concentration camps. 2 Thus this chapter is about those camps that the Nazi regime started to erect just a few weeks after Hitler’s assumption of power; these camps formed the seed from which the entire system of Nazi camps grew, and which eventually consisted of over 10,000 camps of various kinds. 3 In fact music was an integral part of camp life in almost all the Nazi-run camps. The questions covered by my research include: how was it possible to play music in these camps? What musical forms developed there? What, under these circumstances was the function, the effect and the significance of music for both the suffering inmates and the guards who inflicted the suffering? And how was the extent of musical activities affected by the development of the concentration camp system? My research is based on extensive archive work, the study of memoirs and literature, and interviews with witnesses. -
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Tryuk, M. (2016). Interpreting and translating in Nazi concentration camps during World War II. Linguistica Antverpiensia, New Series: Themes in Translation Studies, 15, 121–141. Interpreting and translating in Nazi concentration camps during World War II Małgorzata Tryuk University of Warsaw, Poland [email protected] This article investigates translation and interpreting in a conflict situation with reference to the Nazi concentration camps during World War II. In particular, it examines the need for such services and the duties and the tasks the translators and the interpreters were forced to execute. It is based on archival material, in particular the recollections and the statements of former inmates collected in the archives of concentration camps. The ontological narratives are compared with the cinematic figure of Marta Weiss, a camp interpreter, as presented in the docudrama “Ostatni Etap” (“The last Stage”) of 1948 by the Polish director Wanda Jakubowska, herself a former prisoner of the concentration camp. The article contributes to the discussion on the role that translators and interpreters play in extreme and violent situations when the ethics of interpreting and translation loses its power and the generally accepted norms and standards are no longer applicable. 1. Introduction Studies on the roles of translators and interpreters in conflict situations have been undertaken by numerous scholars since 1980. They have produced valuable insights into the subject which include various types of study of an empirical, analytical -
Amy | ‘Tis the Season | Meru | the Wolfpack | the Jinx | Big Men | Caring for Mom & Dad | Walt Disney | the Breach | GTFO Scene & He D
November-December 2015 VOL. 30 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES NO. 6 IN THIS ISSUE Amy | ‘Tis the Season | Meru | The Wolfpack | The Jinx | Big Men | Caring for Mom & Dad | Walt Disney | The Breach | GTFO scene & he d BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Le n more about Bak & Taylor’s Scene & He d team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications KNOWLEDGEABLE Full-time staff of A/V catalogers, backed by their MLS degree and more than 43 years of media cataloging expertise 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review Amy HHH 2011, she died of alcohol toxicity at the age of Lionsgate, 128 min., R, 27. Drawing on early home movies, newsreel DVD: $19.98, Blu-ray: footage, and recorded audio interviews, Amy $24.99, Dec. 1 serves up a sorrowful portrait of an artist’s Publisher/Editor: Randy Pitman This disturbing, dis- deadly downward spiral. Extras include au- concerting, booze ‘n’ dio commentary by the director, previously Associate Editor: Jazza Williams-Wood drugs documentary unseen performances by Winehouse, and Copy Editor: Kathleen L. Florio about British song- deleted scenes. -
An Organizational Analysis of the Nazi Concentration Camps
Chaos, Coercion, and Organized Resistance; An Organizational Analysis of the Nazi Concentration Camps DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Thomas Vernon Maher Graduate Program in Sociology The Ohio State University 2013 Dissertation Committee: Dr. J. Craig Jenkins, Co-Advisor Dr. Vincent Roscigno, Co-Advisor Dr. Andrew W. Martin Copyright by Thomas V. Maher 2013 Abstract Research on organizations and bureaucracy has focused extensively on issues of efficiency and economic production, but has had surprisingly little to say about power and chaos (see Perrow 1985; Clegg, Courpasson, and Phillips 2006), particularly in regard to decoupling, bureaucracy, or organized resistance. This dissertation adds to our understanding of power and resistance in coercive organizations by conducting an analysis of the Nazi concentration camp system and nineteen concentration camps within it. The concentration camps were highly repressive organizations, but, the fact that they behaved in familiar bureaucratic ways (Bauman 1989; Hilberg 2001) raises several questions; what were the bureaucratic rules and regulations of the camps, and why did they descend into chaos? How did power and coercion vary across camps? Finally, how did varying organizational, cultural and demographic factors link together to enable or deter resistance in the camps? In order address these questions, I draw on data collected from several sources including the Nuremberg trials, published and unpublished prisoner diaries, memoirs, and testimonies, as well as secondary material on the structure of the camp system, individual camp histories, and the resistance organizations within them. My primary sources of data are 249 Holocaust testimonies collected from three archives and content coded based on eight broad categories [arrival, labor, structure, guards, rules, abuse, culture, and resistance]. -
This Copy of the Thesis Has Been Supplied on Condition That Anyone
This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author‘s prior consent. 1 2 Auschwitz: Art, Commemoration and Memorialisation: 1940 to the Present day by Stefan Ludwik Aloszko A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities Faculty of Arts October 2011 3 4 STEFAN LUDWIK ALOSZKO AUSCHWITZ: ART, COMMEMORATION AND MEMORIALISATION: FROM 1940 TO THE PRESENT ABSTRACT This thesis explores chronologically the art, commemoration and memorialisation of the Nazi concentration and extermination camps at Auschwitz, from their establishment in 1940 to the present day. Following a review of the literature in Chapter 1, Chapter 2 examines the production of works of art by the inmates of the camp. That art should have been produced at all in Auschwitz may conflict with our expectations, given the conditions of life within the camp. Nevertheless, art was as necessary in Auschwitz as it is elsewhere. The present account of the making of art under such difficult circumstances attempts to make a significant addition to the established narratives of Auschwitz. The post-war development of Auschwitz as a site-specific museum, established to commemorate the victims of the camp almost as soon as the site was liberated in 1945, permits analysis of techniques utilized by the museum authorities to display artefacts in order to narrate the story of Auschwitz.